Fans feiern den russischen Starpianist in der Stadthalle mit Ovationen
Für Pathos hat Denis Matsuev wenig übrig. So umstandslos der russische
Starpianist die Bühne betritt oder sie nach beendetem Spiel wieder mit knapper
Verneigung verlässt - so schnell, dass die Beleuchtung kaum nachkommt - so
direkt nimmt er sich auch die Werke dieses Abends in der Stadthalle vor.
diese Schlachtrösser der Virtuosenliteratur von dem Musiker aus dem sibirischen
Irkutsks mit beispielloser Grandezza bewältigt werden, bleibt den rund 800
Besuchern gar nichts anderes übrig, als den 39-Jährigen von Anfang an
begeistert, am Ende gar euphorisch zu feiern.
Denis Matsuev plays with bravura, and the concerto provided an ideal vehicle to show off pianistic ability. He excelled in the percussive and dramatic passages, and was no less convincing in lyrical sections, and totally revelled in the glissandos. As much as he was dazzling in his control and massive dynamics, a fully satisfying performance of the concerto calls for greater regard for the splashes of irony, levity and delicacy to be found in the writing.
The highlight, though, was Prokofiev’s Third Piano Concerto. This is not for the faint-hearted pianist; it demands muscular dexterity and an ability to deliver, not only a quality of ardent longing but also something of the cocktail lounge. Matsuev responded with thrilling virtuosity, his fingerwork faultless, his rhythmic drive flexible and imposing.
Even in today’s overrun piano virtuoso market, Denis Matsuev stands out. On the evidence of his recordings, he possesses an epic technique, playing with seemingly superhuman speed, power, and agility.
At his Saturday recital in Harvard’s Sanders Theatre, it was pleasant to discover that Matsuev can also produce the kind of singing tone and silvery pianissimo most pianists only dream about.
In his curtain-raiser, Matsuev responded with grace and swagger to the impish brilliance of Haydn’s Sonata in E-flat major, Hob. XVI: 52. The masterly second movement showed Matsuev at something like his best, demonstrating suave phrasing and extraordinary tonal refinement.
I was anticipating a huge, monstrously bombastic performance of the First Concerto under the fingers of the powerful and technically phenomenal Matsuev, and he did not disappoint in that regard.
Few pianists would seem to be more adept at the sometimes quite un-pianistic writing that the 34-year-old non-pianist Tchaikovsky would create, pouring his heart into the work only to have it shot down by the original dedicatee, the oft-times thuggish Nicolai Rubinstein, who called it “worthless and unplayable”.
This Mariinsky CD includes Concertos 1 and 2. The Concerto No. 1, not too popular at the first performance, has become the benchmark for today’s virtuoso display. I recently heard it live with Bronfman and Dudamel in Los Angeles; it never loses its appeal. Matsuev manages much of Bronfman’s power, but under the critical ear of the microphone, his technique is flawless and Gergiev accompanies beautifully. Only one flat horn phrase in the 2nd Concerto suggests that the Mariinsky Orchestra is almost the completed project. As such, it fares better than some of the recent Shostakovich Symphonies — same conductor, recording company, and hall.
The Russian pianist Denis Matsuev has already shown his dazzling virtuosity on record in works by Shostakovich, Shchedrin, Rachmaninov and others. On this new generously filled (78'32”) SACD from the Mariinsky label he performs both of Tchaikovsky's completed Piano Concertos accompanied by Valery Gergiev and the Mariinsky Orchestra.
La Rapsodia sobre un tema de Paganini (1934) de Sergei Rachmaninov fue la obra común a los dos programas presentados este año, que permitió por un lado conocer al brillante pianista ruso Denis Matsuev, pero también volver a percibir que la concentración de cada atril, la perfecta afinación y el justo equilibrio sonoro siguen siendo una marca distintiva de la orquesta holandesa.
Denis Matsuev, an extraordinary pianist, offers, as part of the 140th anniversary of the birth of Sergei Rachmaninoff an album that confronts the Concerto No. 2 with the Rhapsody in Blue by Gershwin. A confrontation at first somewhat unexpected between the romanticism of the Russian and the American jazz rhythm. Yet these two composers are closely related to New York City where this album was recorded in collaboration with the orchestra of this city, under the baton of Music Director Alan Gilbert.